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Donnington Priory
Newbury, Berkshire
RG14 2JE
United Kingdom
Tales from The Art Crypt: Works from The Richard Feigen Collection
This is a live online auction with auctioneer. For details on registration, bidding, viewing & condition reports, click “Important information” link.
A curated selection from the esteemed collection of Richard L. Feigen (1930-2021), one of the most legendary art dealers of his generation. Read more!
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Viewing in London (highlights):
23 Jun 2025 10:00 - 16:00 BST
24 Jun 2025 10:00 - 16:00 BST
25 Jun 2025 10:00 - 16:00 BST
Viewing in Newbury (full sale): see below
Auction dates
Jul 02, 2025 02:00 PM BST
Viewing dates
Jun 29, 2025 10:00 AM - 03:00 PM BST
Jun 30, 2025 10:00 AM - 04:00 PM BST
Jul 01, 2025 10:00 AM - 04:00 PM BST
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Featured lots
There are 164 lots within this auction
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2,000 - 3,000 GBP
BARTHOLOMEUS BREENBERGH (DUTCH 1598-1657)
WALLS OF A CITY, POSSIBLY LATINUM
Pen and brown ink, with brown and grey wash over black chalk
Later inscribed (lower right)
8 x 14.5cm (3 x 5½ in.)
Drawn circa 1626 - 1629.
Provenance:
The Collection of The Rt. Hon. F Leverton Harris
His Sale, Sotheby's, London, 22 May 1928, lot 18
Sale, Kunstveilingen Mak Van Waay B.V, Amsterdam, 11 June 1975, lot 55, where purchased by Richard L. Feigen
Literature:
M. Roethlisberger, Bartholomeus Breenbergh, Handzeichnungen , Berlin, 1969, under no. 61
M. Roethlisberger, Bartholomeus Breenbergh: The Paintings , 1981, no. 101, p.51 (ill., fig. 101)
Exhibited:
New York, Richard L. Feigen & Co, Bartholomeus Breenbergh , cat. by M. Roethlisberger, 18 September - 31 October 1991, no.29 (ill) travelled to
London, 18 November - 20 December 1991, no. 29
The number at the upper right identifies this almost pure wash drawing as part of Breenbergh's small sketchbook, the dated sheets from which range from 1626 to 1629, during the artist's later years in Rome. Roethlisberger has pointed out that this scene was probably sketched from life just outside an unidentified town in Latinum. Interestingly, this motif does not recur in any known painting by Breenbergh and is his only known architectural study viewed parallel to the picture plane rather than from a sharp diagonal.
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ANONYMOUS SOUTHERN NETHERLANDISH OR FRENCH ILLUMINATOR (CIRCA 1500)
DAVID IN THE ACT OF SLAYING GOLIATH (FRAGMENT FROM PRAYERBOOK, BOOK OF HOURS, OR BIBLE)
Tempera and gold leaf on vellum
10 x 6.5cm (3¾ x 2½ in.)
Provenance:
Sale, Sotheby's London, Western and Oriental Manuscripts , 3 December, lot 9 (part lot)
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3
TUSCAN ILLUMINATOR (CIRCA 1310)
ILLUSTRATED 'I' - VIRGIN MARTYR IN THE ACT OF MARTYRDOM (FRAGMENT OF A LARGER PAGE FROM A CHOIR BOOK)
Bodycolour, gold leaf on vellum
19.5 x 7.5cm (7½ x 2¾ in.)
Provenance:
Sale, Sotheby's London, Western and Oriental Manuscripts , 3 December, lot 9 (part lot)
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1
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10,000 - 15,000 GBP
‡ HERMAN VAN SWANEVELT (DUTCH 1603- 1655)
POLYPHEMUS AND GALATEA; THE JUDGMENT OF PARIS
Oil on canvas, a pair
The former signed and dated 'HVS (in ligature) WANEVELT. / ... 1643' (lower left); the latter signed 'H SWANEVELT. FA. VEN' (lower right)
Each 61 x 75cm (24 x 29½ in.) (2)
Provenance:
Collezione Alfa, no. 69, 70 (according to label on verso)
P.&D. Colnaghi & Co. Ltd. (according to label on verso)
Herner Wengraf, until at least 1974
From whom acquired by Richard L. Feigen
Literature :
A. Sutherland Harris, Landscape Paintings in Rome 1595-1675 , New York, 1985, pp. 29-30
A.C. Steland, Herman van Swanevelt (um 1603-1655) Gemälde und Zeichnungen , Petersberg, 2010, vol. I, nos. G 1 36 A and B, pp. 145, vol. II, reproduced pp. 442 and 443, figs. G 100 and G 101
Having worked for some of the most influential patrons of his time-including Pope Urban VIII Barberini, Cardinal-Duc de Richelieu, and King Louis XIV-Herman van Swanevelt was a highly sought-after artist. He was particularly admired for his naturalistic observation of landscape and his masterful treatment of light, capturing the shifting moods of the day and atmospheric variations.
His stay in Rome from around 1629 to 1641 was crucial to his development. Influenced by painters like Claude Lorrain, Swanevelt refined his approach to light and composition, and began incorporating mythological themes into idyllic natural settings.
This pair of mythological landscapes likely dates to the late Roman period, around the time of his commissions for the King of Spain. The classical figures with elongated limbs and idealized faces, along with the misty, light-filled vistas, closely resemble elements in Landscape with Hermit Preaching, painted for the Buen Retiro (1639-1641) and now in the Museo del Prado, Madrid (inv. no. P005121).
Each painting illustrates a mythological love story ending in tragedy. In The Triumph of Galatea, Ovid recounts how the nymph Galatea escapes the cyclops Polyphemus in favour of her lover Acis, whom Polyphemus later kills in a jealous rage. The Judgment of Paris tells of Paris awarding the golden apple to Aphrodite, who promises him Helen of Sparta-an act that ultimately triggers the Trojan War.
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1
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Estimate
2,000 - 3,000 GBP
‡ CIRCLE OF JACOB SYMONSZ. PYNAS (DUTCH 1583-1631)
REST ON THE FLIGHT INTO EGYPT
Oil on copper
11.5 x 7.5cm (4½ x 2¾ in.)
Provenance:
Sale, William Doyle Galleries, New York, 25 October 1989, lot 52 (as Jacob Pynas)
After examining a photograph, Dr. Astrid Tümpel attributed the painting to the circle of Jacob Pynas (written communication, August 17, 1990). Dr. Rüdiger Klessmann, who viewed the original artwork in person, considered it to be Flemish rather than Dutch, though he did not offer a more precise attribution (oral communication, February 1, 1991).
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1
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1,500 - 2,000 GBP
ATTRIBUTED TO JACOB VAN GEEL (DUTCH CIRCA 1585 - CIRCA 1648)
A WOODED LANDSCAPE
Oil on panel
19.5 x 28.5cm (7½ x 11 in.)
Painted circa 1636.
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1
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4,000 - 6,000 GBP
‡ NICOLAES BERCHEM (DUTCH 1620-1683)
MERCURY BRINGING ARGUS' EYES TO JUNO
Oil on panel
48 x 71cm (18¾ x 27¾ in.)
Provenance:
Sale, Sotheby's Parke Bernet, New York, 3 November 1972, lot 24
Sale, Christie's, 19 April 2007, lot 303, as Nicolaes Berchem (unsold)
Literature:
Listed in the RKD:
https://research.rkd.nl/en/detail/https%3A%2F%2Fdata.rkd.nl%2Fimages%2F227581
Exhibited:
New York, Richard L. Feigen & Co., Landscape painting in Rome 1595-1675 , 30 January - 23 March 1985, no. 5
Marijke de Kinkelder attributed the painting to the early period of the artist's career, suggesting that its stylistic characteristics are indicative of the developmental stages of the artist's oeuvre.
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8
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1
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Estimate
7,000 - 10,000 GBP
‡ ATTRIBUTED TO DOMENICO ZAMPIERI, KNOWN AS DOMENICHINO (ITALIAN 1581-1641)
LANDSCAPE WITH A HERMIT
Oil on canvas
41 x 54cm (16 x 21¼ in.)
Provenance:
Everhard Jabach, Paris, no. 582, by 1696
Manor House Antiques, The Square, Stow-on-the-Wold, Gloucestershire, March 1973
There acquired by Richard L. Feigen
Literature:
Vicomte de Grouchy, Everhard Jabach, collectionneur parisien (1965) in Memories de la Societe de l'Histoire de Paris et de l'lle de France . XXI, 1984, p.278, no. 582
G. Gent, Lost Domenichino is Found and Bought for $392 , New York Times, 19 June 1973, p.32
L. Salerno, Pittori di paesaggio del seicento a Roma, vol. I, Rome, 1976, I. pp. 81,120, cat. no. 19.3
R. E. Spear, Domenichino , New Haven, 1982, vol. I, p.317 (as a copy after Pietro Paolo Bonzi)
L. Salerno, Review of Domenichino by Richard Spear , in ' Storia dell arte' , L. 1984, p.88
A. Brejon de Lavergnee, L'inventaire Le Brun de 1683; La collection des tableaux de Louis XIV , Paris, 1987, p. 297 (as a copy after Domenichino)
C. Whitfield, Les paysage du Domenichio et de Viola in Monuments et memories , LXIX, 1988, p.106, no. 92 (as Grimaldi?)
R. E. Spear, Domenichino addenda , in Burlington Magazine CXXXI, 1989, p.11. no.44 (as a copy after Pietro Paolo Bonzi)
S. Loire, Ecole italianne XV/le siecle. I. Bologne . Musee du Louvre. Department des Peintures , Paris, 1996. pp.214. 216 (as a copy after Domenichino)
Exhibited:
Amherst, Massachusetts, Mead Art Museum, Major Themes in Roman Baroque Art from Regional Collections , 1974, no.83
New Haven, Yale University Art Gallery, Italian Paintings from the Richard L. Feigen Collection , 28 May - 12 September 2010, no. 45 (as Domenichino)
The present work is known in three versions; the lot offered here, a reduced painting in the Louvre (30 x 37cm), and a third larger example (47 x 59cm) in the Galleria Doria-Pamphilj, Rome. The latter example is now generally attributed to Domenichino's follower Pietro Paolo Bonzi. Whilst the present work has been put forward as the prime version by Luigi Salerno and others (see literature), Stephane Loire and Dennis Mahon both argued that the Louvre version is the original.
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1
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Estimate
4,000 - 6,000 GBP
ATTRIBUTED TO CHARLES MELLIN (FRENCH 1597-1649)
PIETÀ
Oil on canvas
106 x 77.5cm (41½ x 30½ in.)
Provenance:
Sale, Ader Tajan, Paris, 26 April 1993, lot 18 (as Attributed to Johann Heinrich Schonfeld, for FF 200,000)
A photograph of the painting was requested in a letter dated 7 November 2006 for possible inclusion in the catalogue of the exhibition held at the Musée des Beaux-Arts de Caen from 21 September to 31 December 2007, Charles Mellin: un Lorrain entre Rome et Naples , curated by Mr. Philippe Malgouyres. However, the photograph ultimately did not appear in the published exhibition catalogue.
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1
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4,000 - 6,000 GBP
CIRCLE OF THOMAS BLANCHET (FRENCH 1614-1689)
PIETÀ
Oil on canvas
53 x 49cm (20¾ x 19¼ in.)
Painted circa 1650.
Provenance:
Dr. Zhan (according to inscription on verso)
Sale, Christie's, London, 9 December 2005, lot 145 (as French School Circa 1640, for £ 69,600)
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1
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Estimate
30,000 - 50,000 GBP
‡ TOMMASO MANZUOLI, CALLED MASO DA SAN FRIANO (ITALIAN 1531-1571)
THE RESURRECTION OF CHRIST
Tempera on panel, with an arched top
31 x 16cm (12 x 6¼ in.)
(mounted) Unframed
Provenance:
Possibly Prince George, Duke of Cambridge (1819-1904) (according to an inscription on verso)
Private collection, England
Sale, London, Phillips, 7 July 1992, lot 47 (as Attributed to Marcello Venusti)
There acquired by Richard L. Feigen
Literature:
A. Wied, in S. Ferino-Pagden, Vittoria Colonna: Dichterin und Muse Michelangelos , exhibition catalogue, Vienna 1997, p. 477
P. Costamagna, " Continuity and Innovation: The Art of Maso da San Friano," in Continuity, Innovation and Connoisseurship: Old Master Paintings at the Palmer Museum of Art , University Park, Pennsylvania 2003, p. 41
L. Kanter and J. Marciari, Italian Paintings from the Richard L. Feigen Collection , New Haven 2010, pp. 118-121, cat. no. 36, reproduced
Exhibited:
New Haven, Yale University Art Gallery, Italian Paintings from the Richard L. Feigen Collection , 28 May - 12 September 2010, no. 36
This finely executed Resurrection of Christ stands as a compelling example of mid-16th century Florentine painting, embodying the stylistic hallmarks of the late Mannerist period. According to Giorgio Vasari, Maso da San Friano (born Tommaso Manzuoli) began his artistic training in the studio of Pier Francesco Foschi and later worked under Carlo Portelli. While his early training was shaped by these artists, Maso's style also reflects the enduring influence of key Florentine painters such as Pontormo and Andrea del Sarto. His figures are distinguished by their refined elegance and bold, expressive use of colour-hallmarks of the Florentine Mannerist tradition-which lend striking monumentality even to works of relatively small scale.
Highly esteemed in his own time, Maso secured prestigious commissions, including two celebrated paintings for the Studiolo of Francesco I de' Medici in the Palazzo Vecchio: The Diamond Mine and The Fall of Icarus , both completed in 1570-71.
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1
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Estimate
10,000 - 15,000 GBP
‡ ATTRIBUTED TO CARLO SARACENI (ITALIAN 1579-1620)
DEATH OF THE VIRGIN
Oil on copper
Stencilled 'L.A.' (to frame's verso, possibly a collector's stencil)
37.5 x 28.5cm (14¾ x 11 in.)
Provenance:
Sale, Christie's, London, 14 December 1979, lot 47 (as F. Saraceni)
Sale, Dorotheum, Vienna, 20 October 2015, lot 54 (as Workshop of Carlo Saraceni, for € 75,000)
Carlo Saraceni produced several compositions depicting the Death of the Virgin . His most renowned interpretation of the subject was commissioned by the Discalced Carmelite friars for the Cherubini Chapel in Santa Maria della Scala, Rome. This painting was intended to replace Caravaggio's earlier version of the same theme, which had been rejected by the friars for its perceived lack of decorum.
Saraceni's first version, completed in 1612, ultimately failed to meet the friars' expectations as well. They requested that the architectural background be replaced with a celestial "glory of angels". Rather than modifying the original canvas, Saraceni sent the painting to Venice and quickly produced a new version, which remains in situ to this day. The first, rejected version was donated to the Metropolitan Museum of Art in New York by Richard L. Feigen in 2019.
Various smaller versions on copper, such as this one, also exist. Feigen owned one such example, which had previously belonged to the artist Sir Peter Lely, as documented in Italian Paintings from the Richard L. Feigen Collection (Yale University Art Gallery, 2010, pp. 140-145, nos. 43 and 44).
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1
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Estimate
2,000 - 3,000 GBP
CIRCLE OF SIMON VOUET (FRENCH 1590-1649)
THE HOLY FAMILY
Oil on canvas
93.5 x 82.5cm (36¾ x 32¼ in.)
Unframed
Painted circa 1640.
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1
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2,000 - 4,000 GBP
NORTHERN FOLLOWER OF MICHELANGELO MERISI, CALLED CARAVAGGIO
MARY MAGDALENE
Oil on canvas
112 x 82.5cm (44 x 32¼ in.)
Unframed
Provenance:
Sale, Sotheby's, New York, 19 May 1994, lot 22 (as Attributed to Jacob van Oost the Elder, for £ 23,000)
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FOLLOWER OF CLAES CORNELISZ MOEYAERT
OLD TESTAMENT SCENE
Oil on panel
39.5 x 51cm (15½ x 20 in.)
Painted circa 1650.
Provenance:
Sale, Auctiones AG, Basel, 26 April 1990, lot 14 (as Anonymous Dutch)
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1
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Estimate
1,500 - 2,000 GBP
SOUTH AMERICAN SCHOOL (17TH/18TH CENTURY)
THE BLACK VIRGIN WITH CHILD OF MONTSERRAT
Oil on panel
26 x 39cm (10 x 15¼ in.)
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1
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Estimate
4,000 - 6,000 GBP
‡ DUTCH SCHOOL (CIRCA 1600)
SAINT JOHN THE EVANGELIST
Oil on copper, with a shaped top
15.9 x 11.4cm (6¼ x 4¼ in.)
Provenance:
Joseph E. Widener, Lynnewood Hall, Elkins Park, Pennsylvania
Sale, Philadelphia, Freeman's, 20-24 June 1944, lot 449 (together with Saint Matthew the Evangelist, as a 'pair of small Italian paintings, XVIII century')
Schoneman Galleries, New York, 1949 (together with Saint Matthew the Evangelist)
Walter P. Chrysler, Jr., New York, 1950 (together with Saint Matthew the Evangelist, the pendant gifted to the Chrysler Museum, 1971)
Richard de Koetser (the present lot only)
From whom acquired by Richard L. Feigen, 1972
The inspiration for this small copper of Saint John the Baptist comes from an engraving by Lucas van Leyden dating from 1518.
Together with its pendant image of Saint Matthew, the present lot once formed part of the Joseph E. Widener collection in Pennsylvania. The pair stayed together until they were acquired by Walter P. Chrysler in 1950, whereby the new owner donated the second part of the pendant to the Chrysler museum in 1971, while the first half of the pair was acquired by Richard L. Feigen the following year.
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1
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Estimate
1,000 - 1,500 GBP
FRENCH SCHOOL ( CIRCA 1760)
PORTRAIT OF AN ARTIST
Pastel on paper laid down to canvas
53 x 46.5cm (20¾ x 18¼ in.)
Provenance:
Sotheby's, New York, 12 January 1989, lot 154 (as Attributed to Joseph Boze)
Literature:
Jeffares, Dictionary of Pastellists , (online), J.3244
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1
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Estimate
1,500 - 2,000 GBP
JOHN OPIE (BRITISH 1761-1807)
PORTRAIT OF A GENTLEMAN, SAID TO BE DR. GREGORY
Oil on canvas
124.5 x 99.5cm (49 x 39 in.)
Unframed
Provenance:
Agnew's Gallery, London (by 1911)
Literature:
Ada Earland, John Opie and His Circle , London 1911, thought to be the portrait of Dr Gregory listed p.280
For the tentative identification of the sitter as Dr. Gregory, the inventor of Gregory's Powder, see Earland, loc.cit.
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JAMES WARD (BRITISH 1769-1859)
A WAGON PASSING A COTTAGE ON A WINDY NIGHT
Oil on paper, laid down on panel
Signed 'J. Ward' (lower right)
11.5 x 14cm (4½ x 5½ in.)
Provenance:
Captain Claude Ward-Jackson (the artist's grandson)
H. Noel Whiting until 1970
Sidney Sabin, London
Private Collection USA until 2007
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1
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Estimate
1,000 - 1,500 GBP
JOSHUA SHAW (ENGLISH 1776-1860)
A WOODCUTTER AND HIS DOG IN A GLADE
Oil on canvas
61 x 76cm (24 x 29¾ in.)
Provenance:
Sale, Christie's, 14 October 1988, lot 68 (unsold)
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ATTRIBUTED TO GIOVANNI BATTISTA PIRANESI (ITALIAN 1720-1778)
YOUNG MAN GESTURING TO HIS RIGHT, HEAD UP; YOUNG MAN GESTURING TO HIS RIGHT, HEAD DOWN
The first pen and brown ink, on laid paper with partial watermark of encircled Fleur-de-Lis; the second red chalk on thick laid paper without watermark
Each 7 x 4cm (2¾ x 1½ in.)
Unframed (2)
A larger pen and ink drawing of a figure gesturing in a similar manner, Study of a man pointing, is held in the Ashmolean Museum, Oxford [see acc. no. WA1937.147].
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ITALIAN SCHOOL (18TH CENTURY)
ARCHITECTURAL CAPRICCIO
Pen and ink
Inscribed with a device (lower right)
11.5 x 15cm (4½ x 5¾ in.)
Provenance:
Charles Molinier (1845-1910) [Lugt 2917]
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24
FRENCH SCHOOL (19TH CENTURY)
MUSICAL SCORE: UN PÉRE À SES FILLES (RECTO); LA PESTE D'HELIAN (VERSO)
Ink
Variously inscribed and annotated
Overall framed size: 40 x 32cm (15½ x 12½ in.)
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CONTINENTAL SCHOOL (PROBABLY LATE 18TH CENTURY)
PAIR OF CYLINDRICAL MIRROR ANAMORPHOSES, OR OPTICAL ILLUSIONS, ONE DEPICTING ST CHRISTOPHER
Watercolour and bodycolour, a pair
28.5 x 41.5cm (11 x 16¼ in.) (2)
Anamorphoses were among some of the most well-known games in the teaching of physics and movement of light in the 18 th century, where deformed paintings appear corrected when observed with a cylindrical mirror.
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1
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Estimate
1,500 - 2,500 GBP
CIRCLE OF ALEXANDRE COLIN (FRENCH 1798-1875)
THE SHADES OF FRANCESCA AND PAOLO APPEARING TO DANTE AND VIRGIL
Oil on panel
32 x 42cm (12½ x 16½ in.)
Painted circa 1820.
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CONRAD HUBER (GERMAN 1752-1830)
CRUCIFIXION
Oil on canvas
Signed and dated 'Huber Invenit / Pinxit '1818' (lower right)
59 x 69cm (23 x 27 in.)
Provenance
Sale, Sotheby's, Monaco, 2 July 1993, lot 172
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1
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Estimate
2,000 - 3,000 GBP
ATTRIBUTED TO JOHN HAMILTON MORTIMER (BRITISH 1740 - 1779)
SOLDIER HOLDING A SEVERED HEAD
Oil on copper
23.5 x 18cm (9¼ x 7 in.)
Provenance:
Sale, Christie's, London, 9 October 1981, lot ?, (As John Hamilton Mortimer)
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1
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Estimate
4,000 - 6,000 GBP
GILBERT STUART (AMERICAN 1755 -1828)
PORTRAIT OF WILLIAM GEORGE DIGGES LA TOUCHE
Oil on canvas, oval
76 x 63.5cm (29¾ x 25 in.)
Painted circa 1788.
Provenance:
The La Touche Family, Hayle, Cornwall
Sale, Christie's, London, 18 November 1988, lot 138
Gilbert Stuart arrived in Dublin in the autumn of 1787, invited by the Duke of Rutland, then Lord-Lieutenant of Ireland and a noted patron of the arts. Over the next few years, Stuart received numerous prestigious portrait commissions. The current painting is believed to date from around 1788. Stuart also painted the sitter's wife, and this particular portrait was once part of the collection of Miss C.F. Godfrey.
William George Digges La Touche (1747-1803) was the grandson of David Digues La Touche (1671-1745), who was born near Blois, fled to Amsterdam after the Edict of Nantes, and later came to England with the Prince of Orange. He fought in a Huguenot regiment at the Battle of the Boyne and remained in Ireland, where he established himself as a banker. His son-uncle to the present sitter-became the first Governor of the Bank of Ireland. William distinguished himself during the siege of Bassorah in 1775. In 1784, he returned to Ireland to join the family banking firm in Dublin, built a grand residence on St. Stephen's Green, and purchased Sans Souci as a country estate. That same year, he married Grace Puget, daughter of London banker John Puget; they had four sons.
We are grateful to Professor Dorinda Evans for confirming the attribution on the basis of photographs.
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AFTER SIR JOSHUA REYNOLDS
PORTRAIT OF GEORGE COLMAN (1732 - 1794)
Oil on canvas
77 x 64cm (30¼ x 25 in.)
Unframed
Provenance:
The Gow Collection
Sale, Bonhams, Old Master and British Paintings , 7 December 1989, lot 12 (as Sir Joshua Reynolds, for £9,694)
George Colman the Elder (1732 - 1794) was an English dramatist and essayist. Amongst his plays were Polly Honeycomb (1760), and The Jealous Wife (1761). In 1766 he produced The Clandestine Marriage jointly with David Garrick. Colman was acting manager of Covent Garden for seven years. In 1774, he sold his share in the playhouse to James Leake, and used the proceeds to buy a small theatre in the Haymarket.
The original portrait of Colman painted by Reynolds, was painted for the 1st Baron Mulgrave, and was exhibited at the Royal Academy in 1770. It was last sold at Sotheby's on 8 April 1998, lot 101.
Other known copies are in the Garrick Club, London, at Buscot Park, Oxfordshire, and in the National Portrait Gallery, London.
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8,000 - 12,000 GBP
‡ RICHARD WILSON (WELSH 1714-1782)
THE WEIR ON THE PO (FIGURES BY A WATERFALL)
Oil on canvas, tondo
23.5 x 23.5cm (9¼ x 9¼ in.)
Painted circa 1766.
Provenance:
The collection of Col. Maurice Harold Grant (1872 - 1962)
The collection of Dr. R.E. Heaphill (according to label verso)
Sale, Christie's, London, Important English Pictures , 21 November 1986, lot 56
Where purchased by Richard L. Feigen
Literature:
Richard Wilson online catalogue raisonnée, no. P197B
W. G. Constable , Richard Wilson, London, 1953, p.211, pl. 98a (perhaps version 3 or 4)
A. French, Gaspard Dughet called Gaspar Poussin 1615 - 75. A French Painter in seventeenth century Rome and his influence on British Art , exh. cat., Kenwood House, London, 1980, no. 73, pp. 88-89
D. Solkin, 'Richard Wilson's Variations on a Theme by Gaspard Dughet', The Burlington Magazine , Vol. 123, No. 940 (July 1981), p.414, no. 21
Exhibited:
Bristol, West Country Treasures , 1967, no. 18
Cape Town, South African National Gallery , Old Masters from a Private Collection, 1975, no. 18, leant by Dr R.E. Heaphill (according to label attached verso)
There are at least eight known versions of this view by Wilson, six of which are oils and two being sketches. It is thought that the view may be based on the composition of two paintings by Gaspard Dughet.
William George Constable noted that the locality of the view depicted in the present lot was uncertain. If it is the river Po, the surrounding country is quite unlike that near Ferrara, or along the greater part of the Po valley. There is no evidence that Wilson ever went to Turin or nearer the source of the river, where there are hills. The title derives from an inscription on one of the other versions of the work, now in the Ashmolean Museum, Oxford.
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1,000 - 1,500 GBP
THOMAS STOTHARD (BRITISH 1755-1834)
DESIGN FOR A FRIEZE
Oil on paper laid to canvas
12 x 89cm (4½ x 35 in.)
Painted circa 1795.
Provenance:
John Witt, London
Sale, Sotheby's, London, Drawings and Watercolours from the collection of the Late Sir John and Lady Witt , 19 February 1987, lot 94
Exhibited:
London , Courtauld Institute, The John Witt Collection, Part II, English School , 1963, n. 50
Thomas Stothard (1755-1843) was born in London and developed an early interest in painting while attending school in Yorkshire. In 1769, he began a seven-year apprenticeship with a designer of silk brocades. He made his exhibition debut in 1776 with the Incorporated Society of Artists, and in 1778 began exhibiting at the Royal Academy, where he would continue to show his work annually throughout his career. Stothard was elected an Associate of the Academy in 1792 and became a full Academician in 1794.
In addition to painting, Stothard was active as a book illustrator and silverware designer. He undertook several significant decorative commissions, including the staircase at Burleigh House in 1799 and the extensive mural decoration of Buckingham Palace.
The present frieze, featuring classical figures inspired by pastoral and aquatic themes, exemplifies Stothard's distinctive decorative style
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THOMAS STOTHARD (BRITISH 1755-1834)
THE TEMPTATION OF HERCULES
Oil on canvas
101 x 127cm (39¾ x 50 in.)
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2,500 - 3,500 GBP
JEAN- JACQUES LEQUEU (FRENCH 1757-1826)
BACCHIC FRIEZE
Pen and black ink, with brown wash and white highlighting
Signed and inscribed (lower right), later inscribed and dated '1785' (to backboard verso)
18 x 41cm (7 x 16 in.)
Condition Report:
Condition Report Disclaimer
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5,000 - 7,000 GBP
‡ FRENCH SCHOOL (18TH CENTURY)
PORTRAIT OF AN ARTIST
Oil on canvas
99 x 80cm (38¾ x 31¼ in.)
Unframed
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3,000 - 5,000 GBP
‡ ANNE-LOUIS GIRODET-TRIOSON (FRENCH 1767-1824)
JUPITER & LEDA
Charcoal heightened with white chalk
19.5 x 15cm (7½ x 5¾ in.)
Drawn circa 1820.
Provenance:
Atelier Girodet
Antoine César Becquérel, Chatillon Coligny, Loiret (the son of Général Becquérel, Girodet's guardian)
By descent to Henri Becquérel
By descent to his wife, Louise Lorieux
By descent to her nephnew, Pierre Deslandres
Thence by descent
Exhibited:
Chicago, The Art Institute of Chicago, Girodet: Romantic Rebel , 11 Feb - 30 April 2006, cat. no. 127
New York, The Metropolitan Museum of Art, Girodet: Romantic Rebel , 22 May - 27 April 2006, cat. no. 127
Montreal, The Montreal Museum of Fine Arts, Girodet: Romantic Rebel, 11 October - 11 January 2007, cat. no. 127
Literature:
S. Bellenger, 'Aurora and Cephalus: A Story of an Acquisition.' Cleveland Studies in the History of Art , The Cleveland Museum of Art, vol. 8, 2003, p.188f; note 3
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2,000 - 3,000 GBP
ANNE-LOUIS GIRODET-TRIOSON (FRENCH 1767-1824)
CEPHALUS & AURORA
Charcoal heightened with white chalk
19 x 15.5cm (7¼ x 6 in.)
Drawn circa 1820.
Exhibited:
Chicago, The Art Institute of Chicago, Girodet: Romantic Rebel , 11 Feb - 30 April 2006, cat. no. 129
New York, The Metropolitan Museum of Art, Girodet: Romantic Rebel , 22 May - 27 April 2006, cat. no. 129
Montreal, The Montreal Museum of Fine Arts, Girodet: Romantic Rebel, 11 October - 11 January 2007, cat. no. 129
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2,000 - 3,000 GBP
ANNE-LOUIS GIRODET-TRIOSON (FRENCH 1767-1824)
JUPITER AND CALLISTO
Charcoal heightened with white chalk
19.5 x 15cm (7½ x 5¾ in.)
Drawn circa 1820.
Exhibited:
Arkansas, Arkansas Arts Centre 43rd Collector's Show & Sale, December 2 - 31st 2011, No. 29
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ANNE-LOUIS GIRODET-TRIOSON (FRENCH 1767-1824)
PORTRAIT OF ADÉLAÏDE DE LA GRANGE
Black chalk and stump
Dated '1812' (lower right)
16 x 12cm (6¼ x 4½ in.)
Provenance:
Julien Encadreur, Paris
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39
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1
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1,500 - 2,500 GBP
‡ ANNE-LOUIS GIRODET-TRIOSON (FRENCH 1767-1824)
STUDY OF A DEAD SOLDIER FROM "THE REVOLT OF CAIRO"
Charcoal heightened with pastel
19.5 x 38cm (7¾ x 14¾ in.)
Provenance:
Malcolm Forbes, New York
Exhibited:
Birmingham, Birmingham Museum of Art, Methods and Media: Drawings from the Birmingham Museum of Art , 10 January - 7 April 2002, no.5
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2,000 - 3,000 GBP
‡ ANNE-LOUIS GIRODET-TRIOSON (FRENCH 1767-1824)
STUDY FOR THE DEATH OF PYRRHUS
Pencil, black crayon and ink
18 x 26.5cm (7 x 10¼ in.)
Drawn circa 1790.
Provenance:
The Collection of L. J. A. Coutan, Paris (Lugt. L.464)
The Collection of Pierre Olivier Dubaut, Paris (Lugt. L.2103b)
Literature:
T. Crow, Emulation: Making Artists for Revolutionary France, New Haven and London, 1995, pp.128-9; 320, no. 51, ill. fig. 95
Exhibited:
New York, Shepherd Gallery, Ingres & Delacroix through Degas & Puvis de Chavannes: The Figure in French Art 1800 - 1870 , 20 May - 28 June 1975, cat. no. 11, p.25, ill. p.26
New Haven, Yale University Art Gallery, Gesture and Expression: The Language of Art in the Age of Revolution , 28 February - 30 April 1989 (as Baron Gros)
Paris, Louvre, Girodet 1767-1824 , 22 September 2005 - 2 January 2006, cat. no.13
Chicago, The Art Institute of Chicago, Girodet: Romantic Rebel, 11 Feb - 30 April 2006, cat. no. 13
New York, The Metropolitan Museum of Art, Girodet: Romantic Rebel , 22 May - 27 August 2006, cat. no. 13
Montreal, The Montreal Museum of Fine Arts, Girodet: Romantic Rebel, 11 October - 11 January 2007, cat. no. 13
Angers, Musée D'Angers, La Dernière de Troie , 25 May - 2 September 2012, cat. no. 23, pp.106
This drawing and a related oil sketch (also previously in the collection of Richard L. Feigen, New York) were previously ascribed to Baron Gros, with the attribution to Girodet, first suggested by Philippe Bordes.
In the present lot the pencil drawing shows some indecisiveness about Zopyrus' figure, with the arm first extended toward the fallen Pyrrhus and then withdrawn in a shielding gesture. In the oil sketch, the gesture becomes even more protective, as Zopyrus throws his cloak over his head to block his view of the older general.
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1
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5,000 - 7,000 GBP
‡ THÉODORE GÉRICAULT (FRENCH 1791-1824)
STUDY FOR 'THE OATH OF BRUTUS AFTER THE DEATH OF LUCRETIA'
Pencil on light greenish-blue coloured paper
92 x 13cm (36 x 5 in.)
Drawn circa 1814-1816.
Provenance:
Sale, Drouot, Paris, March 17, 1989, lot 3 [part lot, from so-called 'Album Blanche']
Literature:
Miller, Asher Ethan, " Théodore Géricault, The Oath of Brutus after the Death of Lucretia, ca. 1815-1816 , French Paintings and Pastels, 1600-1945, The Collections of the Nelson-Atkins Museum of Art , ed. by Marcereau DeGalan, 2019, illus. Fig 4
The present study is a freely rendered drawing focusing on the composition of the figures directly relating to the finished painting, now held in The Nelson-Atkins Museum of Art.
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6,000 - 8,000 GBP
‡ THÉODORE GÉRICAULT (FRENCH 1791-1824)
LE SONGE D'ENÉE (THE DREAM OF AENEAS)
Black crayon, pen and ink, wash and watercolour heightened with white
13.5 x 21cm (5¼ x 8¼ in.)
Drawn circa 1815.
Provenance:
Edouard Aynard Collection
Sale, Sotheby's, Monaco, 20 th June 1987, lot 436
Galerie Prouté, Paris
Private collection, Switzerland
Sale, Sotheby's, London, 9 th April 2002, lot 110
Executed in 1815, according to Professor Lorenz Eitner the drawing 'exemplifies the eccentric graphic style - marked by extremely heavy, angular pen contours - in which Gericault at that time explored classical subjects. This classicist episode in Géricault's work constituted a rather vehement reaction against his own earlier modern and realistic work of 1812-1814.'
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4,000 - 8,000 GBP
‡ AFTER JOSEPH NOLLEKENS (1737-1823) A WHITE MARBLE PORTRAIT BUST OF A LADY 'M.M.A'
DATED 1816
With signature and date to reverse and inscribed "MMA"- possibly for a Mrs Arkwright
approximately 65.5cm high
Provenance :
This bust is recorded on the Henry Moore Foundation works database as having been purchased by Feigen in Amsterdam, November 1985 where it is thought the possible identification of the sitter was made
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3,000 - 5,000 GBP
‡ BARON ANTOINE- JEAN GROS (FRENCH 1771-1835)
ULYSSES KILLING THE SUITORS OF PENELOPE
Pen and brown ink, black chalk, brown and grey wash, heightened with white
15.5 x 22cm (6 x 8½ in.)
Drawn circa 1798.
Provenance:
Sale, Christie's, London, Old Master Drawings , 6 th July 1999, lot 203
Related to the oil sketch datable to around 1798 formerly in the Germain Seligman collection, J. Richardson, The Collection of Germain Seligman, New York, 1979, no. 29. A comparable drawing is held in Besancon, Museé des Beaux-Arts, A. Sérullaz, Le néo-classicisme francais, exhib. cat., 1975, no. 75.
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50,000 - 80,000 GBP
‡ BARON ANTOINE-JEAN GROS (FRENCH 1771-1835)
PORTRAIT OF CHARLES X, 1825
Oil on canvas
Inscribed ' Portrait de son Altesse Royale Monsieur Comte d'Artois / peint d'après nature en 1817 (sic) / par Antoine Jean Gros / ... / Mad. Augustin Dufresne décédée le 5 janvier 1842 et veuve de Antoine Jean baron Gros a par un article de son testament, supplié son Altesse Royale Monseigneur le duc de Bordeaux de vouloir bien agréer l'hommage de ce tableau' (verso)
81.5 x 65cm (32 x 25½ in.)
Provenance :
Collection of the artist, until his death, 1835
By descent to Mme. Augustin Dufresne (Mme. Gros), until her death, 1842
Bequeathed to Henri d'Artois, duc de Bordeaux, later Comte de Chambord
Comtesse de la Béraudière
Sale, Ader-Tajan, Tableaux Anciens , 15 December 1993, lot 88 (as a portrait of Monsieur Comte d'Artois)
Private collection, USA
Exhibited
Paris, Petit Palais, Gros, ses amis, ses élèves , 1936, no. 93
Literature
J.B. Delestre, Gros, sa vie et ses ouvrages , 2 nd ed., Paris, 1867, p. 269 ; G.D. Delestre, Antoine-Jean Gros 1771-1835 , Paris, 1951, ill. fig. 58
The present work is a preparatory study for the artist's large equestrian portrait of Charles X now in the Museum of Versailles. The sketch, which shows the figure half-length and dressed in military uniform, was executed from life on 29 May 1825, the day of Charles' coronation. The final portrait, in which the king is depicted on horseback as he reviews his troops at Saint Léonard, near Rheims, on May 31, was exhibited at the Salon of 1827. This military review, a custom of French kings, was intended by Charles to emphasise the continuity of the ancien régime.
After the death of Louis XVIII (who died without issue), in September 1824, Charles-Philippe, comte d'Artois, succeeded to the throne as King Charles X. After just five years as King, Charles' reign ended with the July Revolution and the accession of his cousin, the duke of Orléans, as Louis-Philippe, king of the French.
Rheims Cathedral can be seen in the upper right corner of both the sketch offered here, and in the finished painting. The Cathedral was an important symbol of legitimacy and authority with every French king since 1027, aside from Louis XVIII, having been crowned there.
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1
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2,000 - 3,000 GBP
‡ ATTRIBUTED TO PIERRE ANDRIEU (FRENCH 1821 - 1892), AFTER EUGÈNE DELACROIX
L'EDUCATION D'ACHILLES
Oil on canvas
35 x 44cm (13¾ x 17¼ in.)
Provenance:
P. Andrieux, Paris
Durand-Ruel, Paris, by 1900
Edward W. Hooper, Cambridge and Boston, by August 1900
Mabel Hooper Lafarge, Connecticut
L. Bancel Lafarge, Nantucket, by descent
Sale, Christie's, New York, 6 February 2007, lot 1 (as Eugène Delacroix, withdrawn)
Literature:
L.R. Bortolatto, L'Opera Completa di Dealcroix , Milano, 1972, no. 409
R. Escholier, Delacroix: Peintre, Graveur, Ecrivain , Paris, 1929, Vol. III, p. 39
J. Meier-Graefe, Eugène Delacroix. Beiträge zu einer analyse , Munchen, 1922, p. 156
L. Johnson, The Paintings of Eugène Delacroix , Oxford, 1989, V, p. 56, no. L222 (as a sketch after Delacroix, possibly by Pierre Andrieu)
A more complete version of this image is in the Getty Museum, Los Angeles
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JAMES GILLRAY (BRITISH 1756-1851)
PACIFIC-OVERTURES, OR - A FLIGHT FROM ST CLOUD'S 'OVER THE WATER TO CHARLEY' - A NEW DRAMATIC PEACE NOW REHEARSING
Etching with original hand-colouring, on wove paper
Published by Hannah Humphrey, 1806
Sheet: 28.5 x 37.5cm (11 x 14¾ in.)
Together with an etched French satirical print 'Les Politiques en Discussion' with original hand-colouring, 225 x 340 mm (8 ¾ x 13 ¼ in)., unframed, [ circa 1814] (2)
Literature:
British Museum Satires 10549
Condition Report:
Trimmed within the platemark to image, lacking lettered margin, repaired tears
Condition Report Disclaimer
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2,000 - 3,000 GBP
ISAAC CRUIKSHANK (SCOTTISH 1764-1811)
THE MARKET EVACUATED
Pencil, pen and grey ink, pink and grey wash
Signed with initials and dated '1797' (lower right) and inscribed '... Market Evacuated or the Sans Culotte's in Posession [sic]' (lower centre)
36 x 51cm (14 x 20 in.)
Condition Report:
The sheet is laid down and there is surface dirt and it has been folded at some stage and there is evident wear on the creases. There are small losses to the corners and a repaired tear to the lower edge. The watercolour was not taken out of the frame in the preparation of this report.
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JAMES GILLRAY (BRITISH 1756-1851)
THE SPANISH BULL FIGHT OR THE CORSICAN MATADOR IN DANGER
Etching with original hand-colouring
Published by Humphrey, London, 1808
Sheet: 25.5 x 35cm (10 x 13¾ in.)
Literature:
British Museum Satires 10997
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JAMES GILLRAY (BRITISH 1756-1851)
BONAPARTE LEAVING EGYPT
Etching with original hand-colouring
Published by Hannah Humphrey, 1800
Sheet: 36 x 25cm (14 x 9¾ in.)
Literature:
British Museum Satires 9523
Condition Report:
Split to the lower left corner, repaired tear to lower right corner
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JAMES GILLRAY (BRITISH 1756-1851)
THE VALLEY OF THE SHADOW OF DEATH
Etching and aquatint with original hand-colouring
Published by Hannah Humphrey, 1808
Sheet: 27 x 39cm (10½ x 15¼ in.)
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CIRCLE OF RICHARD PARKES BONINGTON (BRITISH 1802-1828)
BARGES
Pencil
With Col. J. Lewis Brown collector's stamp (lower left)
10.5 x 13.5cm (4 x 5¼ in.)
Provenance:
John Lewis Brown, a gift from the artist to John Lewis Brown's Uncle and by descent to Louise Lewis Brown, his daughter
Jean Dieterle and by descent until
Sale, Sotheby's, London, 21 November 1991, lot 33 (part lot)
This drawing was part of a large group of sketches from the Dieterle collection which were sold Sotheby's 21 Nov 1985 lots 22-33. Their provenance can be traced back to the artist John Lewis Brown (1829-1890) through to his niece Louise Lewis Brown by whom the collector's stamp (L.307d) was added circa 1890-1892.
Condition Report:
The sheet is not laid down but attached to the mount at the corners. It is in good overall condition and there is a repaired nick to the extreme upper edge. There is some light discolouration but the pencil work is strong. The drawing is fitted into conservation housing an could be hung without further attention. The drawing was not removed from the frame in the preparation of this report.
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CIRCLE OF RICHARD PARKES BONINGTON (BRITISH 1802-1828)
UNLOADING A BARGE
Pencil
With Col. J. Lewis Brown's collector's stamp (lower left)
11.5 x 17.5cm (4½ x 6¾ in.)
Provenance:
John Lewis Brown, a gift from the artist to John Lewis Brown's Uncle and by descent to
Louise Lewis Brown, his daughter
Jean Dieterle and by descent until
Sale, Sotheby's, London, 21 November 1991, lot 26
This drawing was part of a large group of sketches from the Dieterle collection which were sold Sotheby's 21 Nov 1985 lots 22-33. Their provenance can be traced back to the artist John Lewis Brown (1829-1890) through to his niece Louise Lewis Brown by whom the collector's stamp (L.307d) was added circa 1890-1892.
Condition Report:
The sheet is not laid down but attached to the mount at the upper corners, there is some light surface dirt and some scattered light foxing and discolouration along the extreme upper edge. There are also some areas of silver fish damage. The pencil work is strong. The left hand edge is deckled where it has been removed from a sketchbook. The drawing is fitted into conservation housing and could be hung without further attention. The drawing was not removed from the frame in the preparation of this report.
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CIRCLE OF RICHARD PARKES BONINGTON (BRITISH 1802-1828)
STUDY OF ROCKS AND WATER
Pencil
With Col. J. Lewis Brown collector's stamp (lower left)
15 x 21.5cm (5¾ x 8¼ in.)
Provenance:
John Lewis Brown, a gift from the artist to John Lewis Brown's Uncle and by descent to Louise Lewis Brown, his daughter
Jean Dieterle and by descent until
Sale, Sotheby's, London, 21 November 1991, lot 27 (part lot)
This drawing was part of a large group of sketches from the Dieterle collection which were sold Sotheby's 21 Nov 1985 lots 22-33. Their provenance can be traced back to the artist John Lewis Brown (1829-1890) through to his niece Louise Lewis Brown by whom the collector's stamp (L.307d) was added circa 1890-1892.
Condition Report:
The sheet is not laid down but attached to the mount at the corner, there is some uneven discolouration and light scattered foxing, but the pencil work reads well. The drawing is fitted into a conservation mount and could be hung without further attention. The drawing was not taken out of the frame in the preparation of this report.
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CIRCLE OF RICHARD PARKES BONINGTON (BRITISH 1802-1828)
STUDY OF CLIFFS, NORMANDY
Pencil
With Col. J. Lewis Brown collector's stamp (lower right)
11 x 16cm (4¼ x 6¼ in.)
Provenance:
John Lewis Brown, a gift from the artist to John Lewis Brown's Uncle and by descent
Sale, Sotheby's, London, 21 November 1991, lot 27 (part lot)
This drawing was part of a large group of sketches from the Dieterle collection which were sold Sotheby's 21 Nov 1985 lots 22-33. Their provenance can be traced back to the artist John Lewis Brown (1829-1890) through to his niece Louise Lewis Brown by whom the collector's stamp (L.307d) was added circa 1890-1892.
Condition Report:
The sheet is not laid down, but attached to the backing at the upper corners. There sheet has discoloured overall and there is a diagonal crease running across the sheet and a small repair to the centre of the lower edge and a small repair, visible on close examination to the centre of the upper edge. The drawing is fitted into conservation mount and could be hung without further attention.
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CIRCLE OF RICHARD PARKES BONINGTON (BRITISH 1802-1828)
STUDY OF FIGURES AT MARKET AT THOUN, SWITZERLAND
Pencil
Inscribed 'Thoun' (upper right); with Col. J. Lewis Brown collector's stamp (L.307d)(lower right)
9.5 x 17cm (3½ x 6½ in.)
Provenance:
John Lewis Brown, a gift from the artist to John Lewis Brown's Uncle and by descent to
Louise Lewis Brown, his daughter
Jean Dieterle and by descent until
Sale, Sotheby's, London, 21 November 1991, lot 26
This drawing was part of a large group of sketches from the Dieterle collection which were sold Sotheby's 21 Nov 1985 lots 22-33. Their provenance can be traced back to the artist John Lewis Brown (1829-1890) through to his niece Louise Lewis Brown by whom the collector's stamp (L.307d) was added circa 1890-1892.
Condition Report:
The sheet is not laid down, but hinged to the backing at the upper corners. There is a small repaired tear, approximately 1 cm in the upper right corner. The sheet is foxed throughout but the pencil work is strong. The drawing is fitted into conservation mount and could be hung without further attention.
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CIRCLE OF RICHARD PARKES BONINGTON (BRITISH 1802 - 1828)
STUDY OF VILLAGE ROOFS
Pencil with stumping
With Col. J. Lewis Brown collector's stamp (lower right)
9.5 x 7cm (3½ x 2¾ in.)
Provenance:
John Lewis Brown, a gift from the artist to John Lewis Brown's Uncle and by descent to Louise Lewis Brown, his daughter
Jean Dieterle and by descent until
Sale, Sotheby's, London, 21 November 1991, lot 33 (part lot)
This drawing was part of a large group of sketches from the Dieterle collection which were sold Sotheby's 21 Nov 1985 lots 22-33. Their provenance can be traced back to the artist John Lewis Brown (1829-1890) through to his niece Louise Lewis Brown by whom the collector's stamp (L.307d) was added circa 1890-1892.
Condition Report:
The sheet is not laid down but attached to the mount at the corners. The sheet has discoloured overall and there are some areas of abrasion to the corners. The drawing was not removed from the frame in the preparation of this report.
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Estimate
120,000 - 180,000 GBP
‡ RICHARD PARKES BONINGTON (BRITISH 1802-1828)
LANDSCAPE WITH SUNSET AND FIGURES
Oil on canvas
23 x 35cm (9 x 13¾ in.)
Provenance:
Probably, acquired directly from the artist by Louis-Joseph August Coutan (1779-1830), and by inheritance to his wife Lucienne Hauguet (1788-1838)
Thence by inheritance to her brother Ferdinand Hauguet (d. 1860), and by descent to his son Maurice-Jacques-Albert Hauguet (1819-1883)
Thence by descent, Villa Lucienne, Antibes, until 1996
Talabaron & Gautier, Paris, by 2002
Daniel Katz, London
From whom acquired by Richard L. Feigen, 2003
Literature:
B. Talabaron and B. Gautier, Le Paysage Français de Valenciennes à Bonnington, exhibition catalogue, Paris, 2002, cat. no. 33, reproduced
P. Noon, Richard Parkes Bonnington: The Complete Paintings , New Haven and London, 2008, p. 252, cat. no. 202, reproduced in colour
P. Noon, ed. Richard Parkes Bonnington , exhibition catalogue, New York, 2018, unpaginated, cat no. 8, reproduced in colour
Exhibited:
Paris, Talabardon & Gautier, Le Paysage Français de Valenciennes à Bonington , 18 September - 26 October 2002, no. 33
New York, Richard L. Feigen & Co., Richard Parkes Bonington, 23 October - 18 December 2018, no. 8
Richard Parkes Bonington was born in the village of Arnold just outside Nottingham in 1802, but emigrated to France with his family aged fifteen. He was an artist with a precocious talent, extreme sensibility of colour and a profound fluidity of touch. Bonington is considered a hero of the Romantic movement, his legend secured when he died tragically young, aged only 25, his painting career spanning a single decade. He was revered on both sides of the English Channel and hugely influential upon contemporaries and followers alike. French collectors embraced the 'British' medium of watercolour, in which Bonington painted primarily until his first triumph at the Paris Salon in 1824, enthusiastically. He was also well received by the British Art institutions, perhaps most gratifying to the young artist was the patronage of Sir Thomas Lawrence, President of the Royal Academy, whom he visited a few months before his final illness and untimely death. Lawrence headed the funeral procession in September 1828 and despite spending most of career in France he was celebrated by the British Art establishment as one of their own, the question of his nationality contested for a long while by both English and French commentators.
As we can see in the present painting Bonington excelled in his depiction of the countryside and coastal views, Allan Cunningham in his Lives of the Most Eminent British Painters, Sculptors and Architects , 1830, wrote, 'his chief pleasure was in making drawings of sea-coast and river-side scenery: to blend land with water, and both with cloud and sky, was a favourite scene.' He is revered for his ability to transfer light and atmosphere of Venice and French coastal and countryside scenes onto millboard and canvas distilling the essential qualities of place and time into paint.
This atmospheric oil sketch has been dated by Noon, loc.cit . to the early months of 1826. On 4 April 1826 Bonington left Paris for his tour of Italy with his friend and pupil Baron Charles Rivet, returning to Paris by 6 July. Noon notes the present work's similarity to Landscape with Timber Wagon , Wallace Collection ( op,cit. no. 199) which stylistically shows a familiarity with the works of both J.M.W. Turner (1775-1851) and John Constable (1776-1837) evident in the striking sunset and the characteristic accents of red paint.
The present work is an excellent example of Bonington's technique, applying thin washes of oil paint with the same light touch that he would use in his watercolours and subtly building up the planes of colour to produce the glow of the sunset over the open landscape that gently recedes into a haze on the horizon. Bonington approached oil painting as a watercolourist, his peer Eugène Delacroix (1798-1863) wrote of Bonington's technique to the art historian Théophile Thoré-Bürger in 1861, 'To my mind one can find in other modern artists qualities of strength and precision in rendering that are superior to those in Bonington's pictures, but no one in this modern school, and perhaps even before, has possessed that lightness of touch which, especially in watercolours, makes his works a type of diamond that flatters and ravishes the eye, independent of any subject and any imitation.'
The first owner of the paintings was Louis-Joseph-Auguste Coutan (1779-1830), a close friend of artists Baron Gros (1771-1835) and Delacroix and a successful fabric manufacturer and wholesaler. Toward the end of his life, Coutan spent his fortune decorating his Parisian home on the Place Vendôme with works by living artists both commissioning and purchasing contemporary art with no regard for school or nationality. After his death four paintings by Bonington were listed in his sale in 1830, but others descended through the family until 1996 when purchased by the present owner.
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SIR DAVID WILKIE (SCOTTISH 1785-1841)
COMPOSITION STUDY
Pen and brown ink
6 x 12.5cm (2¼ x 4¾ in.)
Unframed
Provenance:
The Property of a Gentleman
His sale, Christie's, London, British Drawings and Watercolours , 17 November 1992, lot 31 (sold as part of a group lot)
We are grateful to Alex Kidson for his help in preparing this catalogue entry. The work will be included in Hamish Miles' forthcoming catalogue raisonné of the work of David Wilkie.
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